Anjali is an internationally recognised performer, choreographer and teacher of East Indian
classical dances. She holds a Ph.D. in South Asian Artistic Traditions from Oxford University. Her studies bring an authenticity to her work,
which intersects with beauty, humour and depth some of the most compelling issues of our time. Her
mixed-media events transcend cultural barriers, making them "an evening of pure pleasure".

CLASSES FOR ADULTS

CONTACT

Email: gaston{at}3web.com

....tel (613) 745-1368

To view videos of Anjali and Company in performance, follow these links:

Anjali(Anne-Marie Gaston), is a classically trained East Indian dancer,
choreographer, teacher,lecturer and photographer. She has spent over twenty
years in India, learning and performing Bharata Natyam, Odissi, Kuchipudi, Kathakali, Chhau and Mohiniattam.
Anjali has studied with some of the greatest masters. She is an internationally recognized exponent performing throughout Canada, UK, USA, Mexico,
Holland, France and India.

“IT WAS A MULTI-SENSUAL DELIGHT delight that passed on the message in several dance forms.
It was a unique synthesis of art and science,”
Deccan Herald, Bangaluru

“THIS IS ART WITHOUT BORDERS. Anjali and Tony Gaston are part of an international
group of artists whose artistic expression belongs to world art... resonates with diverse audiences be they from India Canada or elsewhere”.Arshiya Sethi, Kri Foundation, New Delhi, after Anjali’s recital at the Habitat
Centre, New Delhi, India

UNUSUAL and PROFOUND... From the traditional Mallari
to the Japanese story [of the Sun Goddess], from the Rg Veda [Lady Forest] to Hiawatha, Anjali traversed boundaries of language
with great ease. The choreography was breathtaking in its imagination."
The Statesman, Delhi.

I really enjoyed this piece [Envy] very much..
An evening with Anjali is a special experience.. do try to see her, you will not only enjoy yourself but you will learn an enormous amount about these
traditions."
The Statesman, Delhi.

Anjali

"Drawing from a galaxy of experiences, both in terms of her learning and exposure to various cultures..., Anjali performed with involvement and impeccable timing. She effortlessly combined movements from the different
styles of dancing.."The Hindu, Delhi

"THE FINEST NON-INDIAN DANCER of BHARATA NATYAM, KUCHIPUDI and
ODISSI in the WORLD." Financial Express, Delhi

"...Anjali can easily be mistaken for an Indian, not only for her STAGE PRESENCE but for the TECHNICAL QUALITY of her dance...
her footwork was FLAWLESS and her facial expression ELOQUENT"Indian Express, Madras

<"...Anjali held the audiences SPELLBOUND. This form of dancing requires
immense stamina as well as suppleness and delicacy. Anjali has managed to
combine all three."Vancouver Sun, Vancouver

"...it was mime, theatre, poetry and philosophy... all created by one dancer. It is
easy to see why she is considered OUTSTANDING." The Tribune, Winnipeg

NARRATION

myths, philosophy, and poetry... SENSITIVE COMMENTARY,
reflecting study in depth as well as reverence" The Times of India, Delhi

CREATIVE CHOREOGRAPHY

"In my own choreography I have chosen to carefully select universal elements from the very refined and highly stylized dance
dramas from South Asia in which I have been trained. These timeless traditional forms have enormous potential to be used in a contemporary context and to communicate
with audiences from a wide variety of backgrounds. The classical dances of South Asia have matured over centuries and can be used to express universal artistic truths.
This gift, given to me by my teachers is an excellent vehicle for communicating across cultures.

"In addition to my training in Indian classical dance, my study of South Asian art history helps me to integrate different art forms.
Dance, theatre, sculpture painting, poetry and literature share the same underlying aesthetic in my contemporary work as they do in my traditional recitals. An
important part of my creative process has been the use of original music composed by western musicians but incorporating elements from several
South Asian percussion traditions."

INNOVATION

"Indian dance is theatre. In its country of origin, audiences generally understand the language of the songs to which
the dances are performed. The poetry (sahitya) and the dance are intimately linked.
To allow the development of a similar appreciation in Canadian audiences, my recitals frequently incorporate text in English/French so that the theatrical content
and context of the dance becomes meaningful.

"I draw inspiration from universal traditional sources and the earth itself, and innovate with themes that
reflect my concern with our physical and spiritual environment.

"I do not like to put my life in compartments; Dance, Music, Art, Philosophy, History and Environment, are all interwoven.
Nor do I think of South Asian art as regional art. It is a classical art; the fruit of a mature culture. The dance is not just a language of the body,
but a medium for projecting the spirituality within each of us. The universality inherent in many different cultural expressions has the potential to enrich
not only our cultural life, but the whole way we look at the earth. It is our joint stewardship of the environment that binds us all, and collectively we must
cherish its richness or be destroyed. To appreciate the wonder of this planet is to give it enduring love. When we understand how wonderful our common heritage is,
we shall be much kinder to it than we are now. This will ensure that we can continue to draw inspiration from its majesty."

IMAGES

"Anjali.. etched powerful images to match the poetry that was being narrated. Exquisite
slides filled the cyclorama to create spectacular backdrops for the drama that unfolded" The Pioneer, Delhi

Images
35 mm professional slides are used as backdrops and are an integral part of
the recital. For the traditional repertoire the use of sculptures in stone and bronze, and
miniature paintings highlight the close/ intimate relationship between dance and the
visual arts. No single art can be viewed separate from the others: dance, music,
theatre, painting, sculpture and literature are linked by rules which define excellence
and they share the same aesthetic principles. My work explores this connection and
highlights that all of the arts of India share the same basic aesthetic. According to
a legend recorded in the 8th century text, the Vishnumdharmottara Purana: " A King
wished to prepare a divine image. He summoned a master sculptor and asked for his
instruction. The artist replied; "To learn to sculpt, you must first be familiar with
painting, because that teaches line. But to understand the lines of the body, one must
first be familiar with dance. To dance, a knowledge of music is essential. Therefore,
before you take up the chisel, you have much to learn." This legend illustrates the unity
of the Indian classical arts. Their common foundation lies in the idea of rasa; mood or
emotion. Expressing this is the key to the dance.

1996 KRISHNA'S MUSICIANS, MUSIC AND MUSIC MAKING IN THE TEMPLES OF NATHDVARA, RAJASTHAN,
Delhi: Manohar.

1982 SIVA IN DANCE, MYTH AND ICONOGRAPHY, Delhi: Oxford University Press (in its third edition).

CHAPTERS IN BOOKS

In press ‘Affirmation of Ethnicity and Cultural Insights Through the Eyes of an East Indian Dancer’, in
Ambivalent Hosts: An Exploration of Ethnic Minority Tourism in China ed. Hope MacClean, Marie-Françoise Guédon, University of Laval Press.

2014 ‘Dance as a way of being religious’ in The Oxford Handbook of Religion and the Arts
ed. Frank Burch Brown, Oxford University Press, Oxford.

2011 ‘Dance and Hinduism: a personal exploration’ in Studying Hinduism in Practice, edited by Hillary Rodrigues.
Part of a larger series, Studying Religion in Practice, Routledge.

2009 ‘Religion and Ritual in Bharatanatyam’ in Bharatanatyam, a reader edited by Davesh Soneji Oxford University Press.

1999 'Dialogue in Dance; Classical East Indian Dance as a Component of Hybrid Choreography' in Indian Dance,
ed. David Waterhouse, Toronto: Centre For South Asian Studies, University of Toronto, Bombay: Popular Prakashan.

1994 'Secularization and De-secularization of Indian Classical Dance' in
South Asian Horizons: Enriched by South Asia, Celebrating 25 years of South Asian Studies in Canada
, ed. E. Tepper and J. Wood, Ottawa: Carleton University Press.

1988 East Indian Classical Dance In Canada: The Potential For Touring and Performing, Report
prepared for the Touring Office of the Canada Council.

Anjali "Envy"

INDIAN CLASSICAL DANCE

The temples of ancient India grew up in centres of commerce, and were often endowed by
kings. Some were many acres in extent, with vast pillared halls, bathing pools, elephant
stables, shops and numerous shrines to different gods. The temples remain largely
unchanged, but dancing, which once formed a vital part of the religious rites, is no longer
to be seen. Instead, the prayers and religious stories, once presented daily in dance
before the temple gods, are now performed as art in towns and cities throughout India.

Hand gestures and steps used in the dance are strictly codified and executed in
accordance with the principals laid down in ancient texts. Different combinations of
gestures and movements provide a huge vocabulary through which stories can be
depicted in detail surpassing the spoken word: each line of a song may be expressed
many times without repetition. The theatrical aspect of Indian dance (nritya) is combined
with with purely aesthetic movement (nritta). While the dramatic content of Indian dance
is intended to tell a story, pure movement (nritta) does not.

Formerly, a single tradition was found throughout subcontinent, but with the passing
of time regional styles emerged. All of them employ the basic elements of rhythmic beating
of the feet, detailed hand and facial gestures and body postures in slightly different ways.
All the arts in India are inter-related and share the same aesthetic principles: dance,
theatre, sculpture and painting, and music. The basis of the art is Rasa, Feeling or Mood.

As art in traditional India is religious, it is natural that the dance should have
originated with the gods and become part of religious ceremonies, used either in worship
to enact the hymns, or in pure movement, as an expression of joy. Although Indian dancing
is now presented on the stage, the form of the dance remains unchanged.The music is
classical in style, and the dancer performs alone (except in the dance drama traditions),
often portraying several different characters in the course of a single dance. The stories
all have a religious background but they range in mood from comic to tragic, spanning the
whole gamut of human emotions.In this ancient art dance and theatre combine to form a
spectacle which is at once unique and universal.

Bharata Natyam: the most famous South Indian dance style and originally the preserve
of the devadasis (temple dancers): the first to be performed by non-hereditary dancers.

Odissi: Odissi survived to the present day in the most
holy shrine, the temple of Jagannatha at Puri where it was kept alive by maharis or temple dancers.
The dance was almost unknown outside Orissa until forty years ago.

Kathakali:
Kathakali is a night long dance drama from Kerala performed, until recently,
almost exclusively by men. It still flourishes in its original setting as an important part of
temple festivities. It is notable for its detailed facial expressions and its martial
movements. Many of the stories come from the great Hindu epic the Mahabharata. More
masculine and vigorous than the other styles, it is now performed by both sexes.

Kuchipudi:
This was originally an all-male dance drama indigenous to the state of Andhra Pradesh. For
the past 30 years, it has been taught to women and presented as a solo dance.

Chhau: these dances developed from the tribal dances of northern Orissa (Mayurbhanj style) and
southern Bihar (Seraikela).
They possess many unique movements, but make less use of facial expression than the classical styles.
The Seraikela style is performed in mask.